Konrad Oberhuber first recognized the connection to the circle of Hans Rottenhammer, who produced a number of mythological scenes throughout his career, often based on his study of Venetian artists such as Titian. The drawing appears to resemble the figure types, composition, and technique of the German artist, particularly in the elongated proportions and graceful contortions of the figures (Volrábová, 139). The use of red wash is not uncommon in Rottenhammer’s oeuvre, but the simplified treatment of the foliage and heavy application of the white heightening, which obscures rather than highlights some of the forms would indicate a studio work rather than Rottenhammer himself. The subject was also a common one in Rottenhammer’s studio as he produced a number of mythological paintings and drawings. Another drawing of the subject is at the Yale University Gallery (fig. 1), but it is much more loose and less finished that the Bowdoin sheet.